Owen Peter Phillips, B.A

Total Page:16

File Type:pdf, Size:1020Kb

Owen Peter Phillips, B.A PROPORTION AND APPORTIONMENT: A Study in Homeric Values PROPORTION AND APPORTIONMENT: A Study in Homeric Values By Owen Peter Phillips, B.A. Thesis Submitted to the School of Graduate Studies in Partial Fufillment of the Requirements for the Degree of Master of Arts McMaster University © Owen Peter Phillips, September 2015 M.A. Thesis by Owen Phillips, for the Dept. of Classics at McMaster University McMaster University MASTER OF ARTS (2015) Hamilton, Ontario (Classics) TITLE: Proportion and Apportionment: A Study in Homeric Values AUTHOR: Owen Peter Phillips, B.A. (McMaster University) SUPERVISOR: Prof. Sean Corner NUMBER OF PAGES: vii, 114. ii M.A. Thesis by Owen Phillips, for the Dept. of Classics at McMaster University For my parents iii M.A. Thesis by Owen Phillips, for the Dept. of Classics at McMaster University Abstract The aim of this thesis is to elucidate Homeric aesthetical, ethical, and political values; the relation between these values and those of the polis; and what this relation tells us about the place of Homeric society in our account of the development of the polis. I argue that the system of value that we find in the Iliad and the Odyssey is predicated on the ideas of portion, proportion, and proper distribution. These ideas, I contend, animate the Homeric conception of justice and of appropriateness. Further, I argue that this system shares much ground with the middling ideology of the polis, but is different from this ideology in respect of the discourse of sōphrosunē and of being mesos/metrios. From this, I maintain that the Homeric worldview reflects the social and material conditions of a world that shares the basic values of the polis but is not as sociologically complex as the polis. iv M.A. Thesis by Owen Phillips, for the Dept. of Classics at McMaster University Acknowledgements I must first thank my supervisor, Prof. Sean Corner. Through countless conversations, he has taught me much, most of all how to think. I began this thesis thinking about a box of rotten arrows; without his mentorship, I could not have reached where I have ended. For this, and for his enriching of my life, I am deeply grateful. I also thank Prof. Claude Eilers and Prof. Kathryn Mattison for their perceptive comments at my thesis defence and, further, for teaching and advising me over the course of my six years at McMaster. More broadly, I thank all the professors in the Department of Classics, who have in innumerable ways fostered my intellectual development. Lastly, I thank Emily Lamond, whose love and love for life I cannot live without. v M.A. Thesis by Owen Phillips, for the Dept. of Classics at McMaster University Declaration of Academic Achievement The author declares that the content of this thesis has been completed by Owen Peter Phillips, with recognition of the contributions of his supervisory committee consisting of Prof. Sean Corner, Prof. Claude Eilers, and Prof. Kathryn Mattison during the research and writing process. vi M.A. Thesis by Owen Phillips, for the Dept. of Classics at McMaster University Table of Contents Introduction ...................................................................................................................................... 1 Chapter One: Homeric justice .......................................................................................................... 4 I: Introduction .............................................................................................................................. 4 II: Distributive justice .................................................................................................................. 4 III: Distributive justice and Thersites ......................................................................................... 17 IV: Distributive justice and the funeral games for Patroclus ..................................................... 24 V: Conclusion ............................................................................................................................ 30 Chapter Two: Homeric ethical thought .......................................................................................... 31 I: Introduction ............................................................................................................................ 31 II: Kosmos, moira, and aisa ....................................................................................................... 32 III: Themis and dikē ................................................................................................................... 50 IV: Hybris .................................................................................................................................. 61 V: Figures of impropriety, injustice, and excess ........................................................................ 65 VI: Conclusion ........................................................................................................................... 79 Chapter Three: Homeric political culture ...................................................................................... 82 I: Introduction ............................................................................................................................ 82 II: The middling ideology and Homeric ethical thought ............................................................ 83 III: The fear of stasis .................................................................................................................. 86 IV: Meson and dēmion ............................................................................................................... 99 V: Conclusion .......................................................................................................................... 106 Bibliography ................................................................................................................................ 110 vii Introduction The historical interpretation of the Iliad and the Odyssey remains a point of scholarly contention. Specifically, there is little agreement on how we should understand Homeric ethical and political values, both in and of themselves and especially in relation to those of the polis. This is patent when one briefly surveys recent historical scholarship on the Homeric epics. Donlan argues that the Iliad and the Odyssey stand at the beginning of an aristocratic ideological tradition, which, in contrast to the dominant system of value in the polis, prizes personal over communal glory and which defines status in terms of qualities that are the preserve of an elite, primarily martial prowess.1 Yet he also observes that in Homer there are no birth or class terms, that ancestry is not a criterion of status, and that Homeric society is not stratified.2 In a similar vein, van Wees contends that the seemingly egalitarian nature of Homeric society in respect of status actually reflects the mystifications of an aristocratic ideology that conceals behind a discourse of merit a social system in which wealth and good birth are the real determinants of excellence.3 In regard to competition for status, van Wees concludes that the world of Homer is similar to that of Archaic and Classical Greece, but he also concedes that the Homeric value system may belong to an earlier stage in the development of Greek society.4 Morris makes a comparable argument, claiming that the Homeric poems are polemical texts that legitimize an aristocratic social structure by passing over the claims of ordinary people 1 Donlan (1999) passim, esp. pp.23-24, 40. 2 ibid. pp. 2, 16, 19. 3 van Wees (1993) pp. 70-72, 83, 99. 4 ibid. pp.160-162. M.A. Thesis by Owen Phillips, for the Dept. of Classics at McMaster University and, further, that the middling ideology – the system of thought that is characteristic of the polis – is absent in the Iliad and the Odyssey; indeed, he argues that these poems are a part of an elitist discourse that is antithetical to the middling ideology.5 However, he also contends that the essential institutions of the polis are present in the world of Homer, thereby leaving unresolved the question of how precisely the Homeric poems relate to the world of the polis.6 Clearly, there is little consensus as to how we are to fit Homeric society into our picture of the origins and development of the polis. The particular aim of this thesis is to shed some light on Homeric aesthetical, ethical, and political values, with a view to revealing the extent to which these values share ground with those that obtained in later Greek history. I argue that the Homeric value system turns on the ideas of portion, proportion, and proper distribution and, further, that these ideas animate all judgements of appropriateness and justness. In my first chapter, I analyse the Homeric conception of justice. I explicate the prescriptions regarding fair treatment that this conception of justice entails and the degree to which these prescriptions inform the judgements and behaviour of the characters. In my second chapter, I examine how the conception of justice outlined in the previous chapter fits into Homeric ethical thought more broadly. I draw attention in this chapter to concepts in Homeric ethical thought that imply an ethic of moderation and self-control. In my final chapter, I provide an account of Homeric political culture in relation to that of the polis by examining what Homeric ethical and political values, analysed in the previous chapters, have in common with the values constitutive
Recommended publications
  • Summaries of the Trojan Cycle Search the GML Advanced
    Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc.
    [Show full text]
  • Champions of the Gods
    Champions of the Gods Champions of the Gods by Warren Merrifield 1 Champions of the Gods Copyright ©2006 Warren Merrifield. This is an entry into the Iron Game Chef ‘06 competition. It uses the ingredients Ancient, Committee and Emotion, and is designed to be played in four two–hour sessions. Typeset in Garamond and Copperplate. Created with Apple Pages software on a G5 iMac. Contact me at [email protected] 2 Champions of the Gods Map of the Ancient Greek World 3 Champions of the Gods Introduction This is my Iron Game Chef ‘06 Entry. It uses the ingredients Ancient, Committee and Emotion, and is designed to be run in four two–hour sessions with between three and five participants. There is no Gamesmaster. I am no authority on Ancient Greece and its myths, so please indulge me any inaccuracies that I may have presented here. Background The Ancient Greek World, during the Age of Gods and Men: Zeus, father of all the Gods has decided that he wants a new religious festival for the Mortals to honour him. He has declared that it will be known as the “Olympics” and shall be held in the most worthy city–state in all of the Greek World — anywhere from Iberia to the Black Sea. But there are more city–states than Zeus can be bothered to remember, so to discover which is most worthy, he has chosen a number of his Godly offspring to do it for him. They will be known as the “Mount Olympus Committee”, and will report back in four mortal years, or Zeus shall rip all of Creation asunder.
    [Show full text]
  • Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
    Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia).
    [Show full text]
  • Iliad Teacher Sample
    CONTENTS Teaching Guidelines ...................................................4 Appendix Book 1: The Anger of Achilles ...................................6 Genealogies ...............................................................57 Book 2: Before Battle ................................................8 Alternate Names in Homer’s Iliad ..............................58 Book 3: Dueling .........................................................10 The Friends and Foes of Homer’s Iliad ......................59 Book 4: From Truce to War ........................................12 Weaponry and Armor in Homer..................................61 Book 5: Diomed’s Day ...............................................14 Ship Terminology in Homer .......................................63 Book 6: Tides of War .................................................16 Character References in the Iliad ...............................65 Book 7: A Duel, a Truce, a Wall .................................18 Iliad Tests & Keys .....................................................67 Book 8: Zeus Takes Charge ........................................20 Book 9: Agamemnon’s Day ........................................22 Book 10: Spies ...........................................................24 Book 11: The Wounded ..............................................26 Book 12: Breach ........................................................28 Book 13: Tug of War ..................................................30 Book 14: Return to the Fray .......................................32
    [Show full text]
  • 1 Name 2 Zeus in Myth
    Zeus For other uses, see Zeus (disambiguation). Zeus (English pronunciation: /ˈzjuːs/[3] ZEWS); Ancient Greek Ζεύς Zeús, pronounced [zdeǔ̯s] in Classical Attic; Modern Greek: Δίας Días pronounced [ˈði.as]) is the god of sky and thunder and the ruler of the Olympians of Mount Olympus. The name Zeus is cognate with the first element of Roman Jupiter, and Zeus and Jupiter became closely identified with each other. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort The Chariot of Zeus, from an 1879 Stories from the Greek is Dione: according to the Iliad, he is the father of Tragedians by Alfred Church. Aphrodite by Dione.[4] He is known for his erotic es- capades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, the Proto-Indo-European god of the daytime sky, also [10][11] Persephone (by Demeter), Dionysus, Perseus, Heracles, called *Dyeus ph2tēr (“Sky Father”). The god is Helen of Troy, Minos, and the Muses (by Mnemosyne); known under this name in the Rigveda (Vedic San- by Hera, he is usually said to have fathered Ares, Hebe skrit Dyaus/Dyaus Pita), Latin (compare Jupiter, from and Hephaestus.[5] Iuppiter, deriving from the Proto-Indo-European voca- [12] tive *dyeu-ph2tēr), deriving from the root *dyeu- As Walter Burkert points out in his book, Greek Religion, (“to shine”, and in its many derivatives, “sky, heaven, “Even the gods who are not his natural children address [10] [6] god”).
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Homer's Roads Not Taken
    UNIVERSITY OF CALIFORNIA Los Angeles Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Craig Morrison Russell 2013 ABSTRACT OF THE DISSERTATION Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey by Craig Morrison Russell Doctor of Philosophy in Classics University of California, Los Angeles, 2013 Professor Alex C. Purves, Chair This dissertation is a consideration of how narratives in the Iliad and Odyssey find their shapes. Applying insights from scholars working in the fields of narratology and oral poetics, I consider moments in Homeric epic when characters make stories out of their lives and tell them to each other. My focus is on the concept of “creativity” — the extent to which the poet and his characters create and alter the reality in which they live by controlling the shape of the reality they mould in their storytelling. The first two chapters each examine storytelling by internal characters. In the first chapter I read Achilles’ and Agamemnon’s quarrel as a set of competing attempts to create the authoritative narrative of the situation the Achaeans find themselves in, and Achilles’ retelling of the quarrel to Thetis as part of the move towards the acceptance of his version over that of Agamemnon or even the Homeric Narrator that occurs over the course of the epic. In the second chapter I consider the constant storytelling that [ii ] occurs at the end of the Odyssey as a competition between the families of Odysseus and the suitors to control the narrative that will be created out of Odysseus’s homecoming.
    [Show full text]
  • The Etiquette of Games in Iliad 23 Scott, William C Greek, Roman and Byzantine Studies; Fall 1997; 38, 3; Proquest Pg
    The etiquette of games in Iliad 23 Scott, William C Greek, Roman and Byzantine Studies; Fall 1997; 38, 3; ProQuest pg. 213 The Etiquette of Games in Iliad 23 William C. Scott Serious sport has nothing to do with fair play. It is bound up with hatred, boastfulness, disregard of all rules, and sadistic pleasure in witnessing violence: in other words, it is war minus the shooting. George Orwell HE GAME-NARRATIVE in Book 23 of the Iliad has been dis­ cussed from various erspectives but not as a unit that Tsupports the design of the epic through its detailed struc­ ture. Although the proper awarding of prizes clearly echoes the main theme of the poem, the book has been attacked by traditional analysts as an uneven patchwork, albeit composed of spirited remnants.1 Even those who incorporate this section of the narrative into the Iliad usually advance quickly through it in their eagerness to reach the high ground of Book 24.2 Several who focus directly on Book 23 employ it in defense of a more major point about Homeric composition: it has recently been mined for material supporting theories of consistent charac­ terization,3 for earlier narrative stories, 4 or for rules of conduct 1 The unity of the game-narrative has long been questioned by e.g. D. B. Munro, Homer, Iliad, Books XIII-XXIV· (Oxford 1897) II 398f; W. Leaf, The IliaJ2 (London 1902) II 468f; C. S. Kirk, The Songs of Homer (Cam­ bridge 1962) 222f; P. Chantraine and H. Couble, Homere, L'IHade, Chant XXIII (Paris 1964) 15ff; and M.
    [Show full text]
  • Bacchylides 19 and Eumelus' Europia
    Gaia Revue interdisciplinaire sur la Grèce archaïque 22-23 | 2020 Varia The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia La généalogie de Dionysos: Bacchylide 19 et l’Europia d’Eumélos Marios Skempis Electronic version URL: http://journals.openedition.org/gaia/512 ISSN: 2275-4776 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-199-7 ISSN: 1287-3349 Electronic reference Marios Skempis, « The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia », Gaia [Online], 22-23 | 2020, Online since 30 June 2020, connection on 17 July 2020. URL : http:// journals.openedition.org/gaia/512 This text was automatically generated on 17 July 2020. Gaia. Revue interdisciplinaire sur la Grèce archaïque The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia 1 The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia La généalogie de Dionysos: Bacchylide 19 et l’Europia d’Eumélos Marios Skempis 1 Bacchylides’ relation to the Epic Cycle is an issue under-appreciated in the study of classical scholarship, the more so since modern Standardwerke such as Martin West’s The Epic Cycle and Marco Fantuzzi and Christos Tsagalis’ The Greek Epic Cycle and Its Reception: A Companion are unwilling to engage in discussions about the Cycle’s impact on this poet.1 A look at the surviving Dithyrambs in particular shows that Bacchylides appropriates the Epic Cycle more thoroughly than one expects: Bacchylides 15 reworks the Cypria’s Request for Helen’s Return (arg. 10 W); Bacchylides 16 alludes to Creophylus’ Sack of Oechalia; Bacchylides 17 and 18 are instantiations of mythical episodes plausibly excerpted from an archaic Theseid; Bacchylides 19 opens and ends its mythical section with a circular mannerism that echoes the Thebaid’s incipit (fr.
    [Show full text]
  • The Government of Troy: Politics in the Iliad William Merritt Sale
    The Government of Troy: Politics in the "Iliad" Sale, William Merritt Greek, Roman and Byzantine Studies; Spring 1994; 35, 1; ProQuest pg. 5 The Government of Troy: Politics in the Iliad William Merritt Sale N RECENTLY PUBLISHED STUDIES of Homeric formulae I have I called attention, on the basis of statistical evidence, to two facts about Homer's Trojans in the Iliad: (1) The nominative proper-name formulae used by the poet to refer to them display a remarkable lacuna: there are no frequently occurring, 'regular', formulae. 1 The other characters and peoples who are mentioned anything like as often as the Trojans all have regular formulae, usually more than one. We give the term 'regular formula' a quantitative definition, "exactly repeated six times or more," but the phenomenon is not mere­ ly quantitative; there are certain qualities that regular formulae have and that infrequently occurring formulae tend to lack. Most notable of these are their noun-epithet form (nominative proper-name noun-verb formulae all occur infrequently) and the occurrence of the formula in a major colon:2 frequently oc­ curring formulae are noun-epithet and occupy major cola; infre­ quent formulae fall in minor cola, and the less frequently they occur, the more likely they are to fall in minor cola and to be noun-verbal in syntax. Hence the distinction between regular and infrequent formulae is qualitative, and the Trojans in the nominative lack something they ought to have, noun-epithet formulae used regularly to fill metrical spaces that the other characters have formulae to fill. A lack of regular formulae is significant; and the significance is statistically demonstrable.3 1 w.
    [Show full text]
  • The Iliad of Homer by Homer
    The Project Gutenberg EBook of The Iliad of Homer by Homer This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Iliad of Homer Author: Homer Release Date: September 2006 [Ebook 6130] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ILIAD OF HOMER*** The Iliad of Homer Translated by Alexander Pope, with notes by the Rev. Theodore Alois Buckley, M.A., F.S.A. and Flaxman's Designs. 1899 Contents INTRODUCTION. ix POPE'S PREFACE TO THE ILIAD OF HOMER . xlv BOOK I. .3 BOOK II. 41 BOOK III. 85 BOOK IV. 111 BOOK V. 137 BOOK VI. 181 BOOK VII. 209 BOOK VIII. 233 BOOK IX. 261 BOOK X. 295 BOOK XI. 319 BOOK XII. 355 BOOK XIII. 377 BOOK XIV. 415 BOOK XV. 441 BOOK XVI. 473 BOOK XVII. 513 BOOK XVIII. 545 BOOK XIX. 575 BOOK XX. 593 BOOK XXI. 615 BOOK XXII. 641 BOOK XXIII. 667 BOOK XXIV. 707 CONCLUDING NOTE. 747 Illustrations HOMER INVOKING THE MUSE. .6 MARS. 13 MINERVA REPRESSING THE FURY OF ACHILLES. 16 THE DEPARTURE OF BRISEIS FROM THE TENT OF ACHILLES. 23 THETIS CALLING BRIAREUS TO THE ASSISTANCE OF JUPITER. 27 THETIS ENTREATING JUPITER TO HONOUR ACHILLES. 32 VULCAN. 35 JUPITER. 38 THE APOTHEOSIS OF HOMER. 39 JUPITER SENDING THE EVIL DREAM TO AGAMEMNON. 43 NEPTUNE. 66 VENUS, DISGUISED, INVITING HELEN TO THE CHAMBER OF PARIS.
    [Show full text]
  • Peter Mountford, Homer Iliad 23 and Virgil Aeneid 5
    Homer Iliad 23 and Virgil Aeneid 5: Epic Poetry takes on Athletics PETER MOUNTFORD walls of the tombs of the wealthy dead. At Paestum in southern Italy Lucanian tombs dating to the he focus of Homer Iliad 23 and Virgil Aeneid middle of the fourth century BCE also are painted 5 is on funeral games. In Iliad 23 Achilles with representations from games. T holds games in honour of his companion Patroclus who has been killed by Hector in Iliad Iliad 23 is the second longest book of the epic with 16: in Aeneid 5 Aeneas holds games in Sicily to 897 lines (Book 5 with 909 is the longest). Aeneid 5 honour his father Anchises who had died there a is almost the same length with 871 lines (It is the year before. The events described take place during fifth longest; Book 12 with 952 is the longest). The or just after the Trojan War, which, if it really first 295 lines of Iliad 23 are devoted to the funeral happened, is traditionally placed in the late 13th of Patroclus. The remaining 600 odd lines describe or early 12th century BCE during the Mycenaean the eight events of the funeral games, the major Period. Homer’s account of the games is the earliest event of which is the chariot race (383 lines). The in Western literature. Though Virgil wrote his first 41 lines of Aeneid 5 refer back to the events of epic poem in the late first century BCE, his story Book 4. The commemoration of the anniversary of concerns the wanderings of his hero Aeneas after Anchises’ funeral occupies lines 42-103.
    [Show full text]
  • Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
    Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).
    [Show full text]